系列之三：C类
问答题What we today call American folk art was, art of, by, and for ordinary, everyday I “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially middle-clas
题目
相似问题和答案
第1题：
We have an Art Festival each year.（就划线部分提问）
_______ _______ _______ _______each year?
45. What do you have
第2题：
Today, many cultures divide music______ art music and music of the people.
A、from
B、into
C、over
D、beneath
第3题：
Text 4
Many things make people think artists are weird and the weirdest may be this: artists’ only job is to explore emotions, and yet they choose to focus on the ones that feel bad.
This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil.
You could argue that art became more skeptical of happiness because modern times have seen such misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today.
After all, what is the one modern form. of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology.
People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too.
Today the messages the average Westerner is surrounded with are not religious but commercial, and forever happy. Fast-food eaters, news anchors, text messengers, all smiling, smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda -- to lure us to open our wallets -- they make the very idea of happiness seem unreliable. “Celebrate!” commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks.
But what we forget -- what our economy depends on us forgetting -- is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.
36. By citing the example of poets Wordsworth and Baudelaire, the author intends to show that ________.
[A] poetry is not as expressive of joy as painting or music
[B] art grow out of both positive and negative feeling
[C] poets today are less skeptical of happiness
[D] artists have changed their focus of interest
第4题：
B. The content of the work of art is always the true object of aesthetic interest.
C. The content presented without any individuality is not the content of the work of art.
D. The content understood by means of a process of discursive thought is no more than a husk.
第5题：
We can learn from the last paragraph that the author believes
A.Happiness more often than not ends in sadness. B.The anti-happy art is distasteful by refreshing. C.Misery should be enjoyed rather than denied. D.The anti-happy art flourishes when economy booms
第6题：
第7题：
In the years after the Civil War most American painters received their training in Europe, the majority studying in the French schools at Paris or Barbizon, and a smaller number in Germany at Munich(慕尼黑) and Dusseldorf(杜塞尔多夫). The teaching of the Barbizon school, which stressed the use of color and the creation of an impression or a mood, influenced many American artists. One group of American painters, led by James McNeill Whistler and John Singer Sargent, expatriated(移居国外) themselves from the American scene and settled in Europe. Whistler, who is often ranked as the greatest genius(天才) in the history of American art, was a versatile(多才多艺的) and industrious(勤奋的) artist who was equally proficient(熟练的) in several media-oil, watercolor, etching(铜版画)-and with several themes-portraits and his so-called "nocturnes(夜景画)", impressionistic sketches(印象画) of moonlight on water and other scenes. He was one of the first to appreciate the beauty of Japanese color prints and to introduce Oriental concepts into Western art.
1. For a period after the Civil War, the majority of American painters ____.
A、was influenced by the Barbizon school
B、painted in the impressionist style
C、studied art in Europe
D、used striking color in their work
2. According to the passage, one group of American painters ____.
A、left America never to return
B、turned their back on the American art tradition
C、copied the style. of Whistler and Sargent
D、were unaffected by the European style. of painting
3. From the passage we are led to believe that Whistler ____.
A、did much of his painting at night
B、produced a large number of pictures
C、combined several media and themes in his paintings
D、was most proficient in impressionistic sketches
4. According to the passage, Whistler was one of the first Western painters to ____.
A、use Japanese ideas in his own work
B、become interested in Japanese printing
C、admire Japanese oil paintings
D、start producing Japanese sketches
5. The main theme of this passage is ____.
A、Whistler's influence on Western art
B、The influence of European art on American painters
C、The influence of Oriental art on Whistler
D、The American painters' influence in Europe
参考答案：1-5：CABAB
第8题：
We can learn from the last paragraph that the author believes ________.
[A] happiness more often than not ends in sadness
[B] the anti-happy art is distasteful but refreshing
[C] misery should be enjoyed rather than denied
[D] the anti-happy art flourishes when economy booms
第9题：
The most appropriate title for this text could be __.（ ）
[A] Fluctuation of Art Prices
[B] Up-to-date Art Auctions
[C] Art Market in Decline
[D] Shifted Interest in Arts
第10题：
Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consideration by Hegel, who argued roughly as follows: our sensuous attention and that gives to the work of art its peculiar individuality. Because it addresses itself to our sensory appreciation, the work of art is essentially concrete, to be understood by an act of perception rather than by a process of discursive thought.
At the same time, our understanding of the work of art is in part intellectual; we seek in it a conceptual content, which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom. But criticism can never succeed in this task, for, by separating the content from the particular form, it abolishes its individuality. The content presented then ceases to be the exact content of that work of art. In losing its individuality, the content loses its aesthetic reality; it thus ceases to be a reason for attending to the particular work and that first attracted our critical attention. It cannot be this that we saw in the original work and that explained its power over us.
For this content, displayed in the discursive idiom of the critical intellect, is no more than a husk, a discarded relic of a meaning that eluded us in the act of seizing it. If the content is to be the true object of aesthetic interest, it must remain wedded to its individuality: it cannot be detached from its "sensuous embodiment" without being detached from itself. Content is, therefore, inseparable from form and form in turn inseparable from content. (It is the form that it is only by virtue of the content that it embodies.)
Hegel's argument is the archetype of many, all aimed at showing that it is both necessary to distinguish form from content and also impossible to do so. This paradox may be resolved by rejecting either of its premises, but, as with Kant's antinomy, neither premise seems dispensable. To suppose that content and form are inseparable is, in effect, to dismiss both ideas as illusory, since no two works of art can then share either a content or a form-the form being definitive of each work's individuality.
In this case, no one could ever justify his interest in a work of art by reference to its meaning. The intensity of aesthetic interest becomes a puzzling, and ultimately inexplicable, feature of our mental life. If, on the other hand, we insist that content and form are separable, we shall never be able to find, through a study of content, the reason for attending to the particular work of art that intrigues us. Every work of art stands proxy for its paraphrase. An impassable gap then opens between aesthetic experience and its ground, and the claim that aesthetic experience is intrinsically valuable is thrown in doubt.
1. Hegel argued that .
B. it is the content of the work of art that holds our attention
C. the work of art cannot be understood without a process of logical thinking
D. the form of the work of art is what our sensuous appreciation concentrates on